Speakers Weigh In on High Dynamic Range, 4K and Maintaining Creative Intent

 Cinematography, News, Technique  Comments Off on Speakers Weigh In on High Dynamic Range, 4K and Maintaining Creative Intent
Jun 022015


Producers Guild president Lori McCreary admitted that with an expanding number of formats — for instance with high dynamic range (HDR) and higher resolution gaining more attention — she’s concerned about what productions will look like when they are displayed in eight or 10 years.

Director of photography Oliver Bokelberg (Scandal) added that he worries even today, saying, “No theaters are the same. They are too dark or too bright.”

They and other speakers on a “Picture Clarity” panel (which I moderated), Saturday at the PGA Produced By conference, agreed that creative intent is an issue as technology continues to change. But they also reported that workflows are systematic and understood, and work is being done toward maintaining consistency.

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The Small 502 On-Camera Monitor & Viewfinder are Gorgeous

 Cinematography, Gear, News, Technique  Comments Off on The Small 502 On-Camera Monitor & Viewfinder are Gorgeous
Apr 212015


With everyone and their mother toting a new iPhone or some lesser counterpart, everyone’s now used to having large, ultra clear, high resolution screens at their disposal. It’s sort of a wonder, given our affinity for screens this size, that camera monitors haven’t followed suit, as they tend to be either smaller or significantly larger. So it’s exciting when a company like SmallHD announces a new 5” on-camera monitor called the SmallHD 502.


Given its screen size and weight (under a pound), it’s even reminiscient of a modern mobile phone. But most modern smart phones tend to have higher resolutions than most on camera monitors which are typically around 720p – not this one. The 502’s resolution even bests that of an iPhone 6 in terms of pixel density for full 1080p performance.

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Interview: Hands on with the new ARRI ALEXA MINI

 Cinematography, Gear, News, Technique  Comments Off on Interview: Hands on with the new ARRI ALEXA MINI
Feb 252015

I have been a big fan of ARRI over the years and am pleased to see the success they have enjoyed in recent years. It appears that success will continue to expand with the many new camera innovations they are bringing to the market.




At the BVE show in London this week ARRI were showing the new ALEXA MINI publically for the first time. Newsshooter gained exclusive access to the camera and we were able to shoot with the prototype for a short time. Newsshooter team members Simon Glass, Elliot Smith and myself filmed handheld test shots in and around the EXCEL complex where the exhibition was being held.

We also spoke in detail with ARRI’s Michael Jonas about the camera. He gives us a full run-through of the features and offers great insight into the decisions ARRI made when designing the camera.

Announcing the new ARRI ALEXA Mini
ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously — a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.

Integrated functionality is at the heart of the ALEXA Mini’s efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.

The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera’s superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.

Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.

The ARRI ALEXA Mini is scheduled to begin shipping in May 2015, with orders being taken from March.

GEOFF BOYLE – Director of Photography

 Cinematography, Technique  Comments Off on GEOFF BOYLE – Director of Photography
Feb 052015

If you are shooting digital cinema you will want to see this.

Are Histograms Your Friend of Foe?

 HDR Digital Cinema, HDR Images, immersive, Technique  Comments Off on Are Histograms Your Friend of Foe?
Sep 302014

The histogram can be a very useful tool in helping photographers properly expose their images, but it can be just as hurtful as it is helpful when used improperly. Cinematographer Ryan E. Walters explains why the methods used by photographers to expose their images should not be used by videographers.

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